The sun. [volume] (New York [N.Y.]) 1833-1916, 1887-10-09

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ttrely freBh, ana 70 hnu IL NJ uhe seno un'o
treated in way that satisfies the Judgment
and tho taste. That 10 tho sensation which
awaits those who take up Modern Italian Poets.
by ". d. HowELls tHarpers. and none can
Afford to overlook the book who would fain
have their acquaintance with history and liter
ature adequately rounded. How new and fruit
full IA the field here entered on will DO plain TO
those alive to certain broad gaps In tho educa-
tion OF persons accepted as we'll educated ac-
cording to English and American standards.
The German literature OF the last hundred
yoars has come to be acknowledged neces-
sary pnrt OF the English curriculum since wal
ter Scott and Carlyle discovered 1t. But VINO
Is expected TO know anything about tho htera-
ture Of Italy during the same epoch, or even 70
recall the namos Of any Of her writer's we
except those Of Alieri and Manzoni novel
Of Manzoni's and perhaps, though TINS ID
doubtful a play OF Alheri's-thet seems tne
sum OF the acquaintance, possessed BY most OF
the people accounted we'll informed. with the
literary products OF the italian peninsula In
the era Of its gradual awakening to unity ana
liberty. There ID not even extant In English
lcreditable political history OF the momentous
laixty Years between the sham deliverance OF
Italy By Napoleon and its true liberation py
Cayouf and GaribaldL Even. therefore, from
the point OF view OF political evolution ana so
oial transformation we are under weighty op-
LEGATIONS to Mr.. Howells for many and clear
0limpses Of the men who, II they were not the
authors Of tho national revolution. inspired IT,
foretold Il. acclaimed 1t. and hallowed It
What we have here is ostensibly conspec-
tus of Italian poetry from ITO to 1870; but
In the Introduction. which, in the case OF an
arbitrary initial date is Of course indispensa-
BILE, the author really begins his narrative ~ .
date much earlier. Mr.. Howells has accord.
tngly portrayed, In a sketch so vivid that we ~
first sight fail to note Its singular succinetness'
the fantastic era OF the Italian literary acade-
mics, On era which believed itself one OF ex-
uuisite artistic accomplishment and supreme
reflnement, but whose art. we can now see,
WAS not only conventional but commonplace.
and whose refinement left In the essentials OF
personal cleanliness. sanitary conveniences'
and sexual morality very much to be desired.
Its fne clothes and its fine manners produce
on us, who know something about what tho
clothes covered and the manners cloaked. the
effect Of q stage drawing room. But II we
would understand society as 1t was IN Italy
during the first three quarters OF the last CEN
tury, we must forget its shabby lining and Its
offensive hollowness, which nobody could then
detect, and look. with the eyes OF contempora-
ries, solely at the shell. That is what the book
before u.s. better than any other Engiisn pooK
with which we are acquainted, helps US 70 do'
for the author. having In view given purpose
knows not only what to bring out. but what to
veil. The faculty Of imagination and the exer-
else of charity seem equally needful for the su-
preme function Of historian. that Of resusct-
tation Mr.. Howells has indisputably given
proof OF both qualifications In his delineatton
OF the dead and forgotten Italy OF the Arcadian
Academy and the capaliere siruente. In order
to make us understand the Italian gentry OF
the time. he persuades US, while he draws
Thorn, to cease for the moment to despise them,
and we may be very sure that they did not de-
spise one another. And, after all. they gave
social and literary laws to Italy for nearly
century. They. therefore. constitute q fact OF
history whose significance We cannot expect to
fathom by disdaln.
But II is with the prophets, the ministrants,
the celebrants OF their country's resurrection,
Including here and there perhaps belated
minstrel Of reaction and chanter OF despair-tn
short, with tho Italian poets of the last hun
dred years-tha Mr. Howells and his readers
are most concerned. In reference to them
no has aimed to do for English read
ers what some recent scholars, also en-
dowed with imaginative powers OF high
order, have tried to do for them In rela-
have seldom been deemed worthy Of transla-
ton. Something like score Of modern Italian
poets are included In this gallery. and In each
case, side by side with biographical and
critical sketch. which has the double merit OF
breyty and satisfying fulness, we are offered
metrlcal versions from Mr.. HOwells's hand OF
such short poems or extracts from longer COM
positions as seemed best fitted to exhibit what
In their respective authors was best or most
characteristic. How nearly these versions re.
produce In substance. texture, and spirit the
Italian counterparts: whether they are para
phrases or close TRANSACTIONS, we are unable to
say; but there Is no lack Of internal evidence
that the author does not swerve from the true
object of translator's strivings-to be true.
or, at least. never altogether false. to the fame
Of his original
OF the poets whose lives are thus traced in
outline. and about whose achievement or en-
deavor We are aided by the authors versions to
form for ourselves mediate and partial judR-
ment, we have naturally turned to those In
whom our interest Is keenest, Al6eH and Leo
pardi Between these mon there were some
superficial points Of likeness. though the
marks Of contrast were far more striking and
profound. Both were Of noble birth. and. by
right OF inheritance. entitled to good estate;
both were self-taught, though Alderi had an
nl-used advantage In this particular; both
abandoned their native regions for the sup
posed foci Of italian culture; both wore OF an
impassioned and ardent temperament though
In outward mien unsympathetic and morose
But hsrs the resemblance ends In Alieri ma
ture had infused extraordinary vitality and
vigur. while Leopard was aniicted with
the frailest organism in which ever an
abnormal brain struggled to obey the
impulse to incessant energy. The por-
traits Of Alfleri. unless they grossly fatter
him. account for his repeated and facile
success with the italian women Of that day.
while Leopardi's figure was so shrunken and
ungainly. so lacking In virility, and his face no
uneomely and misshapen. so forbidding. even
lowering. that for him love affair meant only
modification and rebuff. In intellectual equip
mont. at least on Its acQuisitive side, they
were still moro decidedly opposed. Alhert at
the ago Of "a was SO ignorant even OF Italian
literature that as Mr. Howells notes, he had
read nothing whatever Of Dante. Petrarch.
TAsso. Boccacio. or Maohiavelli;" 1t Is Ger
tain. moreover. that he could not read a
line Of Greek, and probable that he did not
know the Greek alphabet before his forty-sixth